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PROGRAM

JOSEPH HAYDN (b. Rohrau, Austr ia 1732 – d. V ienna, Austr ia 1809) Piano Sonata in C, Hob.XVI:50 Allegro Adagio Allegro molto

LUDWIG VAN BEETHOVEN (b. Bonn, Germany 1770 – d. V ienna, Austr ia 1827) Six Bagatelles Op.126 Andante con moto, cantabile e con piacevole Allegro Andante, Cantabile ed espressivo Presto Quasi allegretto Presto – Andante amabile e con moto

INTERVAL

JOHANNES BR AHMS (b. Hamburg, Germany 1833 – d. V ienna, Austr ia 1897)

Six Pieces for piano, Op.118 Intermezzo in A minor, Allegro non assai, ma molto appassionato Intermezzo in A, Andante teneramente Ballade in G minor, Allegro Energico Intermezzo in F minor, Allegretto un poco agitato Romanze in F Andante Intermezzo in E-flat minor, Andante, largo e mesto

JOSEPH HAYDN

Piano Sonata in G, Op.54, No.1, Hob.XVI:40 Allegro innocente Presto

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Paul Lewis spins threads of filament between composers, testing connections, interrogating differences. Musically, Haydn and Brahms ‘could be seen as opposites’, says Lewis. ‘On the one side you have this depth of seriousness and expression in Brahms. On the other side you have this quirkiness in Haydn.’

Beethoven is our go-between, a composer who ‘looks in both directions, and shows us where [Haydn and Brahms] share common ground.’ For Lewis, the two sets of late piano bagatelles cover the ‘kind of seriousness that looks forward to Brahms,’ but also a ‘sort of brash humour’ reminiscent of Haydn.

There are characteristics shared by the three. First, surprise and humour. While Beethoven’s humour might rough listeners up, ‘Haydn doesn’t throw it at you. He says, ‘Come here so I can poke you in the ribs.’ For Lewis, Haydn is ‘one of the most daring and often outrageous of piano composers’.

The second, a tendency towards the introspective. All three ‘internalized their own struggle’, and when they ‘try to come to terms with themselves’, their music is often the most powerful. ‘It’s not just beautiful music. It goes much deeper.’

Brahms expresses this inwardness ‘in a tender way. It’s more submerged,’ while Beethoven, deaf for the last 10 years of his life, uses music to escape from the hurly burly of everyday life, to gaze ‘into a soundless world’.

Beethoven and Brahms are represented by collections of short pieces, which Lewis says are not loose assemblages, but journeys. There is a ‘building of experience’ through the cycle of Beethoven’s Bagatelles, of which each piece ‘is a snapshot’. And by the ‘devastating’ final sixth movement of Brahms’s Klavierstücke Op.118, ‘you really feel that you’ve been through the mill’.

‘I guess it’s a bit naughty’, says Lewis with a laugh, ‘to put the small Haydn G major sonata straight after’ Brahms’s pieces. ‘It’s like throwing a cold towel on the audience!’

P aul L ewis sp o ke wi th T im Munro.

ABOUT THE MUSIC

HAYDN, BEETHOVEN, BR AHMS

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Late life

This evening’s garland is strung with last piano works. Does ‘lateness’ somehow sound different? And can last works help us understand something significant about the creator or creation?

Edward Said writes in his book On Late Style that a final period ‘elucidates and dramatises’. Some artists display ‘a special maturity, a new spirit of reconciliation and serenity’, while others find a ‘renewed, almost youthful energy that attests to an apotheosis of artistic creativity and power’. We might occasionally hear the halo of serenity in Brahms’s pieces, and recognise renewal and mastery in Haydn’s late sonatas.

But, asks Said, ‘What if age and ill health don’t produce the serenity of ‘ripeness is all?’’, if a composer’s later music brings only ‘intransigence, difficulty, and unresolved contradictions?’ For Beethoven, writes Said, lateness was ‘a kind of self-imposed exile from what is generally acceptable.’ At war with life and love, the composer seemed on a collision course with music itself.

Is there something in these late works that lies outside our understanding? ‘The quality of time alters’ at the end of life, writes Michael Wood in Said’s book. It is ‘like a change in the light’.

Do we hear passages that seem to tick outside daily clock-time? Hesitations that gives intimations of the beyond? The present is ‘shadowed by other seasons: the revived or receding past, the newly unmeasurable future, the unimaginable time beyond time.’

Haydn at the keyboard

‘I was no wizard of any instrument’, wrote Haydn. ‘I was not a bad keyboard player or singer, and could also play a concerto on the violin.’

The Austrian composer was self-effacing, yet at home his keyboards ran hot, the engine rooms of his creativity. Haydn tested out both large- and small-scale works on his harpsichord and, later, his fortepiano. But most beloved remained the quaint clavichord, a tiny, nigh-inaudible instrument into which he whispered epic oratorios.

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Brahms the pianist

‘Interesting as [Brahms’s] playing was, there was always something of a fight or animosity about it. I do not believe that Brahms looked on the piano as a dear, trusted friend, as my mother did, but considered it a necessary evil.’ (Eugenia Schumann, daughter of Clara)

‘Brahms’s whole appearance was steeped in force…[with] energetic movements as he played.’ (Josef Victor Widmann, journalist)

Haydn’s reputation largely rests on the originality and delight of symphonies and string quartets, yet the composer worked throughout his life on solo piano works, producing anywhere from 52 to 60 sonatas, a rich and diverse legacy that Paul Lewis says is ‘unjustly neglected’.

Some of this relative neglect is due to the misogyny of Haydn’s time. In the 18th century, solo piano works were mostly intended as educational tools for aristocratic female students. Since women were strongly discouraged from public ‘display’, any performances were limited to the home.

JOSEPH HAYDN Piano Sonata in C, Hob.XVI:50

Allegro Adagio Allegro molto

Three pecks on the piano. So simple they can be tapped out with one finger. An affront to good taste, surely an intentional nose-thumbing.

Absent of any titles, we might imagine Haydn’s piano sonatas to be abstract works, distant from direct emotion, from heartfelt sentiment. The composer disagreed. ‘I sat down [at the keyboard]’, the composer said to his biographer, ‘and began to fantasise, according to whether my mood was sad or happy, serious or playful.’

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Argh! Numbers!

For musicians, keeping track of Haydn works is a headache. Other composers have it easier. Mozart is catalogued by the Köchel-Verzeichnis (eg. K.513), Bach by the Bach-Werke- Verzeichnis (eg. BWV 839). But for Haydn, there is a conflict between two cataloguing systems, one compiled by HC Robbins Landon, and one by Anthony van Hoboken. So Haydn’s works are listed with one or other or both numbers. So the C major sonata being performed tonight might be listed as Piano Sonata No.60 or as Hob. XVI: 50.

Haydn’s wild imagination soon turns these three humble notes into a rollicking adventure with twists and turns aplenty, our protagonist delighted at one moment, pained the next, dazzled by a vista the next. We are jarred by cross-cuts, surprised with silence.

The slow movement opens with florid, floral shapes that grow across the keyboard. C.P.E. Bach, son of J.S. and a huge influence on Haydn, thought music should always ‘touch the heart’ and ‘move the affections.’ One must ‘play from the soul.’ Here Haydn slows time, changes the air pressure. The piano seems almost to levitate.

Thumbing its nose in response, the third movement audibly chortles, again and again. This Haydn is familiar, a hoodwinker with a fiendish glint in his eye.

Brother and brother

Ludwig van Beethoven and his brother were chalk and cheese: one a struggling, disheveled composer; the other a wealthy businessman with a country estate. Family matters drove them apart, yet they stubbornly remained in touch. The insecure Nikolaus Johann craved Ludwig’s attention and society contacts. Ludwig needed his brother’s money.

At the time Beethoven dedicated the Bagatelles Op.126 to his brother, he owed Nikolaus Johann some $20,000 (in today’s dollars). After a previous set of Bagatelles failed to sell, Op.126 was likely an attempt to settle Beethoven’s debt.

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Don’t forget the little things!

Focused on the epoch-making Ninth Symphony and heaven- storming Missa Solemnis, a clutch of little Bagatelles are swept away. Entranced by the fantastical world-building of the oratorios The Seasons and The Creation, humble and anti-virtuoso sonatas are forgotten. Buried beneath late chamber works, jewel-like piano pieces lay in the shadows. This recital is a celebration of the compact and compressed.

LUDWIG VAN BEETHOVEN Six Bagatelles Op.126

Andante con moto, cantabile e con piacevole Allegro Andante, Cantabile ed espressivo Presto Quasi allegretto Presto – Andante amabile e con moto

Among the mess of papers left after Beethoven’s death lay a double-wide sheet of paper. An impromptu folder, home to Beethoven’s homeless musical children. Inside had been solo piano fragments, some undernourished, some fully-fleshed. Some written for publication, some composed out of inner need. The Bagatelles Op.126 once lived in this humble home.

Beethoven dismissively called them Kleinigkeiten (‘trifles’ or ‘little things’), and yet each of these musical shards opens a tiny window onto a developed, fascinating universe. This unearthly music stretches to the ends of the piano, dabbles with teeming complexity and folk-like simplicity, throws dizzying speed against radiant calm.

The Bagatelles are music of extremes. Fast pieces bring to mind the ruddy-faced, wild-haired composer, made prematurely old through stress and illness. We might imagine the composer assaulting his heavy Broadwood piano, stubby fingers stretched flat, sound forced from short forearms.

BEE THOVEN

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Pianists’ perspectives

‘There’s a sense of ‘bigness’ to the way Brahms writes for piano’, writes American pianist and composer Timo Andres. It is ‘as though he’s straining at the limitations of his own 10 fingers.’ Australian pianist Liam Viney agrees. ‘Brahms feels so rich in sonority, all those thirds and sixths, doublings galore. The experiential and kinaesthetic aspects of learning and playing Brahms’s piano music is one of the joys. He also knows how to use the piano's range and resonance, with bass lines to die for.’ Both agree that clarity is key. ‘He’s forever cramming more levels of contrapuntal and harmonic detail into the music’, writes Andres. ‘I think of him more as a peer to Bach than to his fellow Romantics.’ Viney writes that Brahms ‘loved counterpoint, and, having played the piano he taught on in Hamburg, I know that his instruments weren't as tonally massive as the modern Steinway.’

Slow bagatelles ignore this chaotic outer Beethoven and sink within. In one, he conjures the simplicity of a yearning song, in another the transcendence of a hymn, in another the freshness of a relaxed forest ramble. We recall the composer’s need for ‘intimations and hopes of a higher life’, his desire that music, as ‘the only true divine gift of Heaven’, should ‘raise men to the Godhead’.

Cracks in the wall

Looking at Johannes Brahms, our view is obscured. The taciturn North German discarded works, shredded sketches and burned letters. He threw out anything that courted controversy or exposed flaws. In his study, the rubbish bin lid was always left open. Waiting.

Yet cracks in the wall remain. Sketches show torn edges and scribbled reworkings. Anecdotes and ciphers hint at a composer bursting at the seams.

Lean forward. In Op.118 we might catch a glimpse of this private soul.

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Clara

Clara Schumann was among Europe’s most famous concert pianists, and wife to composer Robert. When the 20-year-old Brahms met the Schumanns in 1853, they were juggling busy careers, young children and Robert’s unpredictable mental illness. Brahms drew close to the family, consoling Clara during Robert’s painful institutionalisation and death.

And falling in love with her.

Although their relationship remained platonic, Brahms and Clara relied on each other for emotional and professional support until their deaths. Brahms sent his final piano pieces to her with the nervousness of a teenager, apologising for the dissonances, but hoping that Clara would find that they were ‘necessary’.

The Brahms problem

Paul Lewis has long played the works of Haydn and Beethoven. Brahms not so much. Lewis calls it his ‘Brahms problem’. For Lewis, Brahms ‘was quite locked into the perfection of the craft’, and the pianist was more drawn to the rule-breaking of Haydn and Beethoven. But now? ‘Getting into middle age, you come into Brahms. There’s something so honest and heartfelt’ in his music, something ‘we can all connect to.’

BR AHMS

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JOHANNES BRAHMS Six Pieces for piano, Op.118

Intermezzo in A minor, Allegro non assai, ma molto appassionato Intermezzo in A, Andante teneramente Ballade in G minor, Allegro Energico Intermezzo in F minor, Allegretto un poco agitato Romanze in F Andante Intermezzo in E-flat minor, Andante, largo e mesto

In 1893, Brahms was surrounded. Friends and relatives were dying, and Brahms, looking older than his 60 years, was terrified of his own death. He was observed sobbing in public, singing and groaning in private.

Brahms found comfort in the home- land of the piano, the instrument of his wayward youthful sonatas, of exquisitely controlled mid-period variations. Brahms returned to the piano with music that is distilled, compressed. Sounding nostalgias, counteracting pain with the warmth of homecoming. Defying easy categorisation.

Brahms’s late sets of pieces, Op.116-119, are simply grouped as Klavierstücke (‘piano pieces’), and the individual

pieces carry arbitrary, interchangeable names. There are ‘rhapsodies’ with few improvisatory flights, ‘ballades’ with no explicit narrative, ‘intermezzos’ not intended to be interludes.

The Op.118 set is littered with markings like Teneramente (‘tenderly’), dolce (‘sweetly’), delicatamente (‘gently’) una corda (‘on one piano string’), sotto voce (‘whispered’), dolente (‘aching’), mesto (‘with sorrow’). Love and pain is everywhere, but veiled, half-lit. We lean forward, listening for the heartbeat.

There is always something undermining the expression of unambiguous emotions. Piece No.1 (Intermezzo) leaps into view, but each burst saps energy. Bluff, stoic No.3 (Ballade) holds its head high until a curtain is pulled, exposing a humble, quiet soul.

Paul Lewis calls Piece No.6 (the final Intermezzo) ‘devastating’. In life, Brahms drifted from home, wandered from job to job, struggled to maintain friendships, failed to achieve lasting companionship. In Op.118 No.6 a lone voice charts an unmoored journey, twisting and turning, gaining footholds, faltering, falling away.

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JOSEPH HAYDN Piano Sonata in G, Op.54, No.1, Hob.XVI:40

Allegro innocente Presto

Haydn lived long enough to see social change and political foment, yet was no boat-rocker. Unlike his former student Beethoven, who once told a prince that such a high position was ‘an accident of birth’, Haydn yielded again and again to the whims of aristocratic patrons.

But he sensed an opportunity. The 18th century saw continued growth in the middle class, and Haydn, who was proud of his ‘credit with the common people’, cultivated a more open and accessible style, knitting hints of folk-tinged music into a ‘popular style’ heard in many of his later works, like this little G major sonata.

Papa

‘Papa’ Haydn we say. According to Clemens Höslinger, it was at first a term of endearment during the composer’s 40-year tenure at the Esterhazy Palace. Then second, as ‘papa’ of the modern symphony orchestra, of the modern string quartet. Third, it was used by 19th-century musicians to dismiss this artist who was seen as irrelevant and outdated.

HAYDN

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Its first movement alternates two melodies: a hummable tune, marked by the composer to be played ‘innocently’; and a spiky, anxious mini-drama. Each is gussied up in turn, fitted with hoop skirts, adorned with powder. Yet something is amiss. ‘Papa’ Haydn, your movement is surely too long, too unvaried. It long overstays its welcome.

Does Haydn challenge the pianist to create variety with colour, shape, ornamentation? Does he make mockery of the formal straightjacket of the instrumental sonata itself? Then again, perhaps the whole movement is an elaborate McGuffin, lulling us slowly...into a...haze… Then jolting us awake with the finale’s first splash of ice-water!

© T IM MUNRO 2017

T im Munro is a C hic a g o-b as e d, tr iple- G rammy-winnin g f lu t is t , sp e ake r, wri te r an d te a ch e r.

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ABOUT THE ARTIST

Paul Lewis is internationally regarded as one of the leading musicians of his generation. His cycles of core piano works by Beethoven and Schubert have received unanimous critical and public acclaim worldwide, and consolidated his reputation as one of the world’s foremost interpreters of the central European classical repertoire. His numerous awards have included the Royal Philharmonic Society’s Instrumentalist of the Year, two Edison awards, three Gramophone awards, the Diapason D'or de l'Annee, the Preis Der Deutschen Schallplattenkritik, the Premio Internazionale Accademia Musicale Chigiana, and the South Bank Show Classical Music award. He holds honorary degrees from Liverpool, Edge Hill and Southampton Universities, and was appointed Commander of the Order of the British Empire (CBE) in the 2016 Queen's Birthday Honours.

PAUL LE WIS

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He appears regularly as soloist with the world's great orchestras, including the Boston Symphony, Chicago Symphony, London Symphony, London Philharmonic, Bavarian Radio Symphony, NHK Symphony, New York Philharmonic, LA Philharmonic, and the Royal Concertgebouw, Cleveland, Tonhalle Zurich, Leipzig Gewandhaus, Philharmonia and Mahler Chamber Orchestras.

Highlights from the 2016/17 season included Beethoven concerto cycles with the Melbourne Symphony Orchestra, the São Paulo State Symphony Orchestra, and the Royal Flemish Philharmonic Orchestra, appearances with the Orchestre de Paris and Daniel Harding, the Philharmonia with Andris Nelsons, the Chicago Symphony with Manfred Honeck, and the Bavarian Radio Symphony Orchestra with Bernard Haitink. The 2017/18 season sees the start of a two year recital series, exploring connections between the sonatas of Haydn, the late piano works of Brahms and Beethoven's bagatelles and Diabelli Variations, as well as appearances with the WDR Sinfonieorchester, Orchestra Mozart di Bologna, Boston Symphony, San Francisco Symphony and Montreal Symphony Orchestras.

Paul Lewis’s recital career takes him to venues such as London's Royal Festival

Hall, Alice Tully and Carnegie Hall in New York, the Musikverein and Konzerthaus in Vienna, the Theatre des Champs Elysees in Paris, the Concertgebouw in Amsterdam, and the Berlin Philharmonie and Konzerthaus. He is also a frequent guest at the some of the world's most prestigious festivals, including Tanglewood, Ravinia, Schubertiade, Edinburgh, Salzburg, Lucerne and the BBC Proms where in 2010 he became the first person to play a complete Beethoven piano concerto cycle in a single season.

His multi-award winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and the Diabelli Variations, Liszt’s B minor sonata and other late works, all of Schubert’s major piano works from the last six years of his life including the 3 song cycles with tenor Mark Padmore, solo works by Schumann and Mussorgsky, and the Brahms D minor piano concerto with the Swedish Radio Symphony Orchestra and Daniel Harding. Future recording plans include a multi-CD series of Haydn sonatas, Beethoven's bagatelles, and works by Bach.

Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama in London before going on to study privately with Alfred Brendel. He is co-Artistic Director of

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Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams AM The Hugh Williamson Foundation


Founding PatronThe Late Dame Elisabeth Murdoch AC DBE


Anonymous (3)The Late Betty Amsden AOJenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins AO & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O’Keeffe

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine AO

Supporting Partners

Program Partners

Foundations

Business Partners

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter


Margaret Farren-Price Eda Ritchie AM Margaret Taylor


THE PEGGY & LESLIE CRANBOURNE FOUNDATION

ETHEL HERMANCHARITABLE TRUST

52 MELBOURNE RECITAL CENTRE – 2018 CONCERT GUIDE

THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








Foundations

THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








THANK YOU









Supporting Partners

Program Partners

Foundations

Business Partners








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